KOONCE, Frank

1. Evolution of the Five-Course Guitar
1.1. Transition from the Vihuela and Four-Course Guitar
1.2. Dominance of the Five-Course Guitar
2. Tuning of the Five-Course Guitar
2.1. Terms Pertaining to Stringing and Tuning
2.2. Different Tunings for the Baroque Guitar
2.3. Issues and Opinions on Tuning Practices in Spain
2.4. Relevance of Baroque Tuning Practices to Modern Performers
3. Reading Baroque Guitar Tablature
3.1. Tablature and Transcription
3.2. Punteado Notation
3.3. Rasgueado Notation
3.4. Mixed Tablatures
4. Interpretation and Performance
4.1. Octave Selection and Voice Leading
4.2. Punteado Ornaments
4.3. Campanelas
4.4. Meter and Tempo
4.5. Hemiola and Syncopation
4.6. Rasgueado Techniques
4.7. Rasgueado Ornaments
5. Editorial Procedures
5.1. Philosophy and Intent
5.2. The Voicing and Notation of Strummed Chords
5.3. Editorial Notation
6. Gaspar Sanz
6.1–9. La cavalleria de Napoles con dos clarines, Rujero, Paradetas, Folías, Las Hachas, Zarabanda, La Esfachata de Napoles,La Miñona de Cataluña, Canarios
6.10–14. Pavanas, Españoletas, Matachín, Villanos, Passacalles
7. Antonio de Santa Cruz
7.1–3. Jácaras, Villano, Canario
8. Francisco Guerau
8.1–4. Marionas, Villano, Canario, Passacalles in B minor
9. Santiago de Murcia
9.1. Resumen de acompañar
La Guastala, Menuet, Preludio in D minor
9.2. Códice Saldívar No. 4
Marionas, Fandango, Jácaras, Zangarilleja, Cumbées
9.3. Passacalles y obras
Passacalles in G minor, Suite in G Major, Suite in D minor
10. Facsimiles